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"Great musicians are people who are brilliant musical thinkers."

I would not say "...Yet he is behind most of their groundbreaking music" but rather "groundbreaking Albums". Waters is behind the concepts of those albums. The music is made by the group. The result is a Pink Floyd album.space triangle wrote: ↑Tue Mar 17, 2020 10:10 am Steven Wilson: Roger Waters Is Arguably the Worst Musician in Pink Floyd, Yet He's Behind Most of Their Groundbreaking Music
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"Great musicians are people who are brilliant musical thinkers."![]()
I agree, and I'm sure many other people will as well. Roger was the lyrical genius of the band, but the others provided vital parts of the recipe that made Pink Floyd.
I'd just like to speculate that the recipe for the classic Floyd albums calls for Roger's writing, circa the 1970s. 99% of Dark Side of the Moon, Wish You Were Here, and Animals are written in second-person point of view, where the listener is addressed as the main character. The Wall and The Final Cut jump around from first-person to second-person, but the better moments are in second-person, or the few places where it sets the scene in second-person, and Gilmour chimes in, now in first-person - "Mother", "Young Lust", "Comfortably Numb" - in "Dogs", it's Roger singing in first-person, before launching into his rendition of "Howl". A lot of Roger's early stuff was in third-person, but "Embryo", "Biding My Time", "Grandchester Meadows", "If", and all of Meddle is first-person, though much less specific than The Wall and everything after it; Pros and Cons is entirely first-person and (I would say) painfully specific. "Cymbaline", and Gilmour's "The Narrow Way" and "Childhood's End" are also in second-person. Pink Floyd's best work uses very vivid music while lyrically leaving enough room for the listener's imagination, allowing them to assume the role of the main character. Roger's later work isn't nearly as identifiable for most people - he certainly honed his ability to tell a story, and there are morals to those stories, but most of them take multiple listens to piece together, unlike the immediacy of hearing Dark Side of the Moon for the first time. I really don't think the latter-day Floyd would have been better with Roger's involvement, because he didn't write like that anymore.Annoying Twit wrote: ↑Tue Aug 04, 2020 8:08 pmI agree, and I'm sure many other people will as well. Roger was the lyrical genius of the band, but the others provided vital parts of the recipe that made Pink Floyd.
It's a hard one as to which one is worse. Nick certainly talks a good album that's for sure.
I think the same is true for Rick and Roger. Rick certainly applied himself in the late '60s, as heard in things like "Love Scene (Version 4)" from Zabriskie Point, and the Farfisa/Binson solo in "Set the Controls" from Pompeii; he also adopted new instruments, like the clavinet and polyphonic synths when they came along, but really never played anything more complex than what he was doing in 1969 (in '74 he said he felt more motivated to "jump on my lawnmower and shoot 'round the garden").
Have you ever wondered why Pink Floyd uses so many different sound effects in their music and on their albums? Some critics of the band are of the opinion Pink Floyd has 'masked' their average musical abilities with a lot of special efects.. And, at the same time a special efects made a music of the band far more interesting and attractive than it actually is. Pink Floyd as a band were certainly the Rock music greatest experimentators. From the early feedback and electronic drums experimentation to the mad laughters and ticking clocks on Dark Side to the shiver-sending spooky atmosphere of The Wall, they were always a impeccable masters of special effects. And it was certainly that side of them that attracted most of the bamd's audience.
space triangle wrote: ↑Thu Sep 03, 2020 1:54 pmSome critics of the band are of the opinion Pink Floyd has 'masked' their average musical abilities with a lot of special efects..
What I remember reading is that it was thought that Nick would be able to create a part for Mother, but that to do so would take a lot of time. They bought Porcaro in and he utterly nailed it straight off. So, it wasn't a situation where Nick couldn't have done it, but that they had an awful lot of album to get on and record, and this was by far the quickest solution.moodyblue wrote: ↑Thu Sep 03, 2020 11:31 am I was always curious as to why Jeff Porcaro was drafted in to play on The Wall album simply because Nick couldn't do the job required. Did he never think to practise? Was he simply not interested in developing as a musician?
I like what Nick did in Floyd be it the 'Saucerful' drum pattern, the acoustic drums on 'Time' or the slow groove on 'Set The Controls'. But to go all that time and not develop as a musician by learning different time patterns is a bit mystifying.
While it's a stretch to say that the reason they used sound effects was to mask their musical abilities, I think it's fair to say that they (specifically Roger and Nick) spent a lot more time crafting those sound effects than they did practicing. But they're notspace triangle wrote: ↑Thu Sep 03, 2020 1:54 pmHave you ever wondered why Pink Floyd uses so many different sound effects in their music and on their albums?